FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W79477571> ?p ?o ?g. }

• W79477571 abstract "The thesis analyses the visual space displayed in pictures, film, television and digital interactive media. The argument is developed that depictions are informed by the objectives of the artefact as much as by any simple visual correspondence to the observed world. The simple concept of ‘realism’ is therefore anatomised and a more pragmatic theory proposed which resolves some of the traditional controversies concerning the relation between depiction and vision. This is then applied to the special problems of digital interactive media. An introductory chapter outlines the topic area and the main argument and provides an initial definition of terms. To provide a foundation for the ensuing arguments, a brief account is given of two existing and contrasted approaches to the notion of space: that of perception science which gives priority to acultural aspects, and that of visual culture which emphasises aspects which are culturally contingent. An existing approach to spatial perception (that of JJ Gibson originating in the 1940s and 50s) is applied to spatial depiction in order to explore the differences between seeing and picturing, and also to emphasise the many different cues for spatial perception beyond those commonly considered (such as binocularity and linear perspective). At this stage a simple framework of depiction is introduced which identifies five components or phases: the objectives of the picture, the idea chosen to embody the objectives, the model (essentially, the visual ‘subject matter’), the characteristics of the view and finally the substantive picture or depiction itself. This framework draws attention to the way in which each of the five phases presents an opportunity for decision-making about representation. The framework is used and refined throughout the thesis. Since pictures are considered in some everyday sense to be ‘realistic’ (otherwise, in terms of this thesis, they would not count as depictions), the nature of realism is considered at some length. The apparently unitary concept is broken down into several different types of realism and it is argued that, like the different spatial cues, each lends itself to particular objectives intended for the artefact. From these several types, two approaches to realism are identified, one prioritising the creation of a true illusion (that the picture is in fact a scene) and the other (of which there are innumerably more examples both across cultures and over historical time) one which evokes aspects of vision without aiming to exactly imitate the optical stimulus of the scene. Various reasons for the latter approach, and the variety of spatial practices to which it leads, are discussed. In addition to analysing traditional pictures, computer graphics images are discussed in conjunction with the claims for realism offered by their authors. In the process, informational and affective aspects of picture-making are distinguished, a distinction which it is argued is useful and too seldom made. Discussion of still pictures identifies the evocation of movement (and other aspects of time) as one of the principal motives for departing from attempts at straightforward optical matching. The discussion proceeds to the subject of film where, perhaps surprisingly now that the depiction of movement is possible, the lack of straightforward imitation of the optical is noteworthy again. This is especially true of the relationship between shots rather than within them; the reasons for this are analysed. This reinforces the argument that the spatial form of the fiction film, like that of other kinds of depiction, arises from its objectives, presenting realism once again as a contingent concept. The separation of depiction into two broad classes – one which aims to negate its own mediation, to seem transparent to what it depicts, and one which presents the fact of depiction ostensively to the viewer – is carried through from still pictures, via film, into a discussion of factual television and finally of digital interactive media. The example of factual television is chosen to emphasise how, despite the similarities between the technologies of film and television, spatial practices within some television genres contrast strongly with those of the mainstream fiction film. By considering historic examples, it is shown that many of the spatial practices now familiar in factual television were gradually expunged from the classical film when the latter became centred on the concerns of narrative fiction. By situating the spaces of interactive media in the context of other kinds of pictorial space, questions are addressed concerning the transferability of spatial usages from traditional media to those which are interactive. During the thesis the spatial practices of still-picture-making, film and television are characterised as ‘mature’ and ‘expressive’ (terms which are defined in the text). By contrast the spatial practices of digital interactive media are seen to be immature and inexpressive. It is argued that this is to some degree inevitable given the context in which interactive media artefacts are made and experienced – the lack of a shared ‘language’ or languages in any new media. Some of the difficult spatial problems which digital interactive media need to overcome are identified, especially where, as is currently normal, interaction is based on the relation between a pointer and visible objects within a depiction. The range of existing practice in digital interactive media is classified in a seven-part taxonomy, which again makes use of the objective-idea-model-view-picture framework, and again draws out the difference between self-concealing approaches to depiction and those which offer awareness of depiction as a significant component of the experience. The analysis indicates promising lines of enquiry for the future and emphasises the need for further innovation. Finally the main arguments are summarised and the thesis concludes with a short discussion of the implications for design arising from the key concepts identified – expressivity and maturity, pragmatism and realism." @default.
• W79477571 created "2016-06-24" @default.
• W79477571 creator A5068483933 @default.
• W79477571 date "2002-01-01" @default.
• W79477571 modified "2023-09-24" @default.
• W79477571 title "Media space : an analysis of spatial practices in planar pictorial media." @default.
• W79477571 hasPublicationYear "2002" @default.
• W79477571 type Work @default.
• W79477571 sameAs 79477571 @default.
• W79477571 citedByCount "1" @default.
• W79477571 crossrefType "dissertation" @default.
• W79477571 hasAuthorship W79477571A5068483933 @default.
• W79477571 hasConcept C111472728 @default.
• W79477571 hasConcept C111919701 @default.
• W79477571 hasConcept C12713177 @default.
• W79477571 hasConcept C138885662 @default.
• W79477571 hasConcept C142362112 @default.
• W79477571 hasConcept C153349607 @default.
• W79477571 hasConcept C154945302 @default.
• W79477571 hasConcept C15744967 @default.
• W79477571 hasConcept C185592680 @default.
• W79477571 hasConcept C26760741 @default.
• W79477571 hasConcept C2778572836 @default.
• W79477571 hasConcept C2779702343 @default.
• W79477571 hasConcept C2780586882 @default.
• W79477571 hasConcept C41008148 @default.
• W79477571 hasConcept C543847140 @default.
• W79477571 hasConcept C55493867 @default.
• W79477571 hasConcept C98184364 @default.
• W79477571 hasConceptScore W79477571C111472728 @default.
• W79477571 hasConceptScore W79477571C111919701 @default.
• W79477571 hasConceptScore W79477571C12713177 @default.
• W79477571 hasConceptScore W79477571C138885662 @default.
• W79477571 hasConceptScore W79477571C142362112 @default.
• W79477571 hasConceptScore W79477571C153349607 @default.
• W79477571 hasConceptScore W79477571C154945302 @default.
• W79477571 hasConceptScore W79477571C15744967 @default.
• W79477571 hasConceptScore W79477571C185592680 @default.
• W79477571 hasConceptScore W79477571C26760741 @default.
• W79477571 hasConceptScore W79477571C2778572836 @default.
• W79477571 hasConceptScore W79477571C2779702343 @default.
• W79477571 hasConceptScore W79477571C2780586882 @default.
• W79477571 hasConceptScore W79477571C41008148 @default.
• W79477571 hasConceptScore W79477571C543847140 @default.
• W79477571 hasConceptScore W79477571C55493867 @default.
• W79477571 hasConceptScore W79477571C98184364 @default.
• W79477571 hasLocation W794775711 @default.
• W79477571 hasOpenAccess W79477571 @default.
• W79477571 hasPrimaryLocation W794775711 @default.
• W79477571 hasRelatedWork W119423635 @default.
• W79477571 hasRelatedWork W1576547130 @default.
• W79477571 hasRelatedWork W1984002962 @default.
• W79477571 hasRelatedWork W2029027186 @default.
• W79477571 hasRelatedWork W2135203462 @default.
• W79477571 hasRelatedWork W2169878902 @default.
• W79477571 hasRelatedWork W2227509891 @default.
• W79477571 hasRelatedWork W2258244661 @default.
• W79477571 hasRelatedWork W2410635248 @default.
• W79477571 hasRelatedWork W2427632082 @default.
• W79477571 hasRelatedWork W2554811619 @default.
• W79477571 hasRelatedWork W2905300403 @default.
• W79477571 hasRelatedWork W3093736550 @default.
• W79477571 hasRelatedWork W3211435987 @default.
• W79477571 hasRelatedWork W3213291135 @default.
• W79477571 hasRelatedWork W3213579701 @default.
• W79477571 hasRelatedWork W323523897 @default.
• W79477571 hasRelatedWork W56400311 @default.
• W79477571 hasRelatedWork W71541070 @default.
• W79477571 hasRelatedWork W79135754 @default.
• W79477571 isParatext "false" @default.
• W79477571 isRetracted "false" @default.
• W79477571 magId "79477571" @default.
• W79477571 workType "dissertation" @default.